John Baptist Jackson: 18th-Century Master of the Color Woodcut
Chapter 7
“_Illustrissimo & Nob: Viro D{no}: D{no}: / +Richardo Boyle+ Comti de Burlington & Cork &c. / Magnæ Britanniæ & Hiberniæ Pari, Hiberniæ Archi-thesaurario / Heredetario, Nobilisimi Ordinis Periscelidis Equiti &c. / Optimæ Architecturæ Instauratori ac Cæterarum Artium Liberalium / Moecenati munificentissimo. / Singolare hoc Opus a ‡Jacobo Robusti‡ depictam in Schola S: ‡Rocci‡ Venetiis / adservatum. J: B: Jackson Anglus qui Ligno Coelavit humillime D. D. C. 1741._”
On shield, bottom center (center plate):
“+Honi Soit·Qui·Mal y Pense·+”
Below shield, bottom center (center plate):
“+Honor· Virtutis· Premium.+”
A bust portrait of a man in 18th-century dress is visible on the right knee of the woman with a child in the center background of the left sheet. It is not a likeness of Richard Boyle. Could this be a self-portrait by Jackson?
A trial proof of the key block, center sheet, is in the Rosenwald Collection, National Gallery of Art.
23.
_Miracle of St. Mark_, after Tintoretto [Le Bl. 15, N. 2]
Dimensions:
22¼ × 17¾ inches (left sheet), 22¼ × 17¾ inches (right sheet).
Blocks, 4:
Buff, light brown, dark brown, dark gray.
Inscription, lower left (left sheet):
“_Per illustri_ D{no} D{no} / +Eduardo Wright+, / _Armigero, / pulcrarum Artium ex-/cultori vel sollertissimo, / hoc_ Jacobi Robusti / _(communiter Tintoretto) / præclarum opus in / suæ argumentum ob-/ servantiæ addicit, et / consecrat J. B. Jackſon._”
24.
_The Marriage at Cana_, after Veronese
Dimensions:
23 × 16¾ inches (left sheet), 23 × 16¾ inches (right sheet).
Blocks, 4:
Buff, dark buff, violet-brown, dark brown.
Inscription, lower left (left sheet):
“_Paulo Cagliari / Veron: Pinxit._”
Lower right (right sheet):
“Rev{mo.} D{no.} P. / _‡Leopoldo Capello‡ Coenobii ‡D: Georgii‡ / Ord: S: Benedict: / +Abbati+ / meritissimo. / J: B: Jackson_ / D. D. D.”
Extreme lower right (right sheet):
“_J: B: Jackson Delin: Sculp. / & excudit Venetiis 1740._”
Jackson in the _Enquiry_ (p. 48) described this print, and the two preceding subjects, as being “in _Hugo’s_ Manner with Improvements.”
25.
_Presentation of the Virgin in the Temple_, after Titian [Le Bl. 3, N. 18]
Dimensions:
22 × 15⅜ inches (left sheet), 22 × 17⅞ inches (center sheet), 22 × 17¼ inches (right sheet).
Blocks, 4:
Light grayish umber, medium brown, dark gray, dark brown.
Inscription, lower left (left sheet):
“_Opus hoc admiratione sane dignum, cunctorumq; approbatione / commendatum, ac Sacrarii Confratrum Caritatis Venetiarum / potiſſimum ornamentum, a_ Titiano Viccellio _Cadorensi, / Viro pingendi arte præ cæteris celeberrimo, coloribus quam / fieri potest ad naturale expressum, adumbratumq; pro viribus / exscribere studens J: B: Jackson delineavit, excudit, et exſculpsit._ 1742.”
Lower right, on streamer (right sheet):
“+Ducit· Amor Patriæ.+”
Lower right, in block (right sheet):
“Per Illustri, ac Nobili Viro D:{no} D:{no} / +Erasmo Philipps Barronetto+ / _Artium zelantissimo Fautori, et de re litteraria / optime merito, Tabulam hanc tenue debitæ venerationis / suæ argumentum, emeritissimo Patrono, et Mecænati / commendat, et dicat / J: B: Jackſon._”
26.
_The Virgin in the Clouds and Six Saints_, after Titian [Le Bl. 14, N. 17]
Dimensions:
23¼ × 14¾ inches.
Blocks, 2:
Buff, black.
Inscription, upper left and right:
“Ill{mo} atq; Excell:{mo} D:{no} D:{no} +Philippo Farsetti+ Nob. Ven. / _Tabellam hanc a _Titiano Viccellio_ jam depictam in / gratissimi animi, cultusq; perpetui testimonium, / Mecænati, ac Sospiti munificentissimo / humiliat, et consecrat _J. B. Jackſon_._”
Center of picture, on wall:
“+Titianus Faciebat+”
Bottom center:
“_J. B. Jackson Del: sculp:&c. 1742._”
Niccolò Boldrini’s woodcut after Titian’s drawing of the lower half of this subject (Le Bl. 12) evidently inspired Jackson to transcribe the entire painting as a pen-and-ink drawing in Titian’s style, with a tint block added.
27.
_The Descent of the Holy Spirit_, after Titian [Le Bl. 13, N. 1]
Dimensions:
22⅜ × 15⅛ inches.
Blocks, 4:
Buff, light gray-brown, light yellow-brown, dark brown.
Inscription, upper left and right:
“_Perilluſtri, ac Nobili Viro D:{no} D:{no} +Jacobo Stewart Mackinzie+, / Honorabili Magnæ Britan-niæ Conſilii Conſcripto Patri / Opus hoc, quod ex_ Titi-ani Viccellii _Pictura, / exſcripsit, in humillimi obſequii testi-/monium devo-vebat_ / J. B. Jackſon.”
28.
_The Finding of Moses_, after Veronese [Le Bl. 2, N.14]
Dimensions:
22 × 15 inches.
Blocks, 4:
Buff, light brown, light violet-gray, dark gray.
Inscription, lower right:
“_Ill{mo} et Excell{mo} +D: D: / Everardo Fawkener+ Eq Aur / pro Mag: Brit: Rege ad Turc: Imper: / Legato. Elegant: Artium Moecena-/ti Munificentis: in sui Obsequii. Ar-/gumentum humill: D: D: / J: B: Jackson._”
Lower left:
“_Ex Tabella / a ‡Paulo Calliari‡ Veron{s}. / depicta penes J: +Smith+ Ven / J: B: Jackson Del Sculp & excud / 1741._”
29.
_The Raising of Lazarus_, after Leandro Bassano [Le Bl. 6, N. 7]
Dimensions:
23½ × 14⅞ inches.
Blocks, 4:
Buff, light reddish gray, gray, dark cold brown.
Inscription, upper left and right:
“_Ill:{mo} D:{no} D:{no} +Vincentio Riccardi+, Marchioni / Florentino, amplissimo Senatori, / amœnarum litterarum scientiarumq; excultori / peramantissimo, Tabellam hanc a / +Leandro+ de +Ponte+ colori-/bus expressam veluti exigu-/um obser-vantiæ suæ / specimen_ D. D. D. / J B Jackson”
Center bottom:
“_J: B: Jackſon Del. Sculp. &c. 1742._”
30.
_Christ on the Mount of Olives_, after Jacopo Bassano [Le Bl. 8, N. 6]
Dimensions:
22 × 15⅛ inches.
Blocks, 4:
Buff, medium brown, gray, dark brown.
Inscription, bottom:
“Ill:{mæ} atq; Excell:{mæ} D:{næ} D:{næ} / _Paulinæ Contarenæ / ‡Nob: Venetæ‡, aviti sanguinis ingenti splendore claræ, sed Virtutum nobilitate longe clariori, piissimum / hoc Christianæ Fidei monumentum, exiguum obsequentissimæ servitutis suæ signum, quod ex pictura / _Jacobi de Ponte_ delineavit, et exſculpsit, generossimæ Patronæ, et Auspici dedicabat J: B: Jackson._”.
1743.
A trial proof of the key block is in the Rosenwald Collection, National Gallery of Art.
31.
_Melchisedech Blessing Abraham_, after Francesco Bassano [Le Bl. 1, N. 19]
Dimensions:
22½ × 15⅛ inches.
Blocks, 4:
Buff, warm gray, brown, dark brown.
Inscription, lower right:
“_Per-illustri D.{no} D.{no} / +Joanni Reade+ / Tabellam hanc in obſe-/quentiſſimæ reverentiæ / specimen D. D. D. / J. B. Jackſon / ex Tabella penes / D. Jos{h} Smith._”
1743.
32.
_Dives and Lazarus_ (The Rich Man and Lazarus), after Jacopo Bassano
Dimensions:
22 × 15 inches (left sheet), 22 × 15 inches (right sheet).
Blocks, 4:
Buff, light brown, light brownish gray, dark brownish gray.
Inscription, lower left of left plate:
“_Per-illustri, ac Honorabili Viro_ / D:{no} D:{no} +Roberto Hoblyn+, / _Armigero, Magnæq; Britan-/niæ Consilii Conscripto Patri, / Artium, Scientiarumq; Cultori, / et Mæcenati, sui ergo obsequii / dicabat_ / J. B. Jackſon.”
Lower right of left plate:
“_Ab Exemplari, Jacobi de Ponte, quod Venetiis penes / D. Joſeph Smith extat, exſcripſit qui dicabat. / J: Baſan P{x}._”
1743.
33.
_Algernon Sidney_, after Justus Verus [Le Bl. 20]
Dimensions:
13⅜ × 8¾ inches with letters, 8½ × 7½ inches (oval portrait only).
Blocks, 4:
Tan, light brown, light gray, dark gray.
Inscription, left and right under oval:
“_Zustus Verus, pinx: J: B: J: sculp; et exc:_”
In rectangle at bottom:
“_At the Time when_ M{r}. +Algernon Sidney+ _was_ Ambaſſador _at that Court, Monſieur +Terlon+ the_ French _Ambaſſador, had the Confidence to tear out of the Book of_ Mottos _in the King’s Library, this Verse, which_ M{r}. Sidney _(according to the Liberty allowed to all Noble Strangers) had written in it:_/
“Manus haec inimica Tyrannis Enſe petit placidam sub Libertate quietem.
“_Though Monſieur_ Terlon _underſtood not a word of_ Latin, _he was told by others the meaning of that Sen- tence, which he considered as a_ Libel _upon the_ French _Government and upon ſuch as was then setting up in_ Denmark _by_ French _Aſſistance_ or Example.”
Pref: to _Acco{t}. of Denmark_ 4{th} _Edit:P:23._
Another version with light red in place of light gray (Philadelphia, which also has set of progressive proofs).
Smithsonian Institution (U.S. National Museum) Worcester, MFA, Fogg, Baltimore, MMA, NYPL, Philadelphia BM, Berlin-Dahlem, Brussels, Frankfurt, Hamburg
34.
_Antique Bust of Woman_
Dimensions:
14⅞ × 10½ inches (irregular oval).
Blocks, 4:
Yellow-gray, greenish brown, gray-brown, brown.
MFA
35.
_Lovers_ (facing right), perhaps after Piazzetta
Dimensions:
15 × 10½ inches.
Blocks, 5:
Light brownish gray, darker brownish gray, medium brown, cold gray, dark brown.
Attributed to Jackson.
V&A
36.
_Lovers_ (woman full face), perhaps after Piazzetta
Dimensions:
15 × 10½ inches.
Blocks, 5:
Light brownish gray, darker brownish gray, medium brown, cold gray, dark brown.
Companion piece to previous print. Attributed to Jackson.
V&A
37.
_Lamentation Over the Body of Christ_
Dimensions:
20½ × 13¼ inches.
Blocks, 5 or 6:
Blue, brown, red, flesh, gray.
Inscription, bottom:
“_Et tuam ipſius animam pertranſibit gladius,_”
This is probably an experiment in color printing made by Jackson, after his own design, before attempting the Ricci set.
BM
38.
_Heroic Landscape With Dedication and Classical Ruins_, after Marco Ricci [Le Bl. 21-25, N.20-25a]
Dimensions:
16⅜ × 23⅛ inches.
Blocks, 7 to 10:
Tones of blue, buff, gray-violet, green and dark gray.
Inscription in tablet at lower left:
“_Ill{mo}, atq; Excell{mo} D{no} D{no}_ / +Roberto D’Arcy+, / Comiti de Holderneſſe _&c. &c. &c. / Apud Sereniſs Remp: Venetam pro Mag: / Britan· Rege Legato Extraordinario. / Hoc noviſſime excogitatum Opus in humillimi / obsequii teſtimonium dedicabat_ / J. B. Jackſon.”.
1744.
A copy in the Museum of Fine Arts, Boston, has D’Arcy’s coat-of-arms on the entablature of the arch to the right with red and blue notes. The British Museum has a copy with brownish-red touched in with water colors in the clothing of the men under the arch.
Reichel reproduced this in full size and color (plate 98).
MFA, MMA, BM, Venice
39.
_Heroic Landscape With Sheep, Statues, and Gentlemen_, after Marco Ricci [Le Bl. 21-25, N. 20-25b]
Dimensions:
16¾ × 23⅛ inches.
Blocks, 7 to 10:
Colors vary in different impressions.
1744.
Smithsonian Institution (U.S. National Museum)
MFA, BM, Venice
40.
_Heroic Landscape with Fisherman, Cows, and Horsemen_, after Marco Ricci [Le Bl. 21-25, N. 20-25c]
Dimensions:
16½ × 23 inches.
Blocks, 7 to 10:
Colors vary in different impressions.
1744.
MFA, MMA, Worcester, BM, V&A, Berlin-Dahlem, Venice, Brussels
41.
_Heroic Landscape with Cart and Goatherd, with S. Giorgio Maggiore in Background_, after Marco Ricci [Le Bl. 21-25, N. 20-25d]
Dimensions:
16½ × 23 inches.
Blocks, 7 to 10:
Colors vary in different impressions.
1744.
MFA, BM, Venice, Dresden
42.
_Heroic Landscape with Women at Brook, Child Fishing, and Herdsmen_, after Marco Ricci [Le Bl. 21-25, N. 20-25e]
Dimensions:
16¾ × 23½ inches.
Blocks, 7 to 10:
Colors vary in different impressions.
1744.
Reichel reproduced this in full size and color (plate 99).
MMA, MFA, BM, Venice, Milan, Berlin-Dahlem
43.
_Heroic Landscape with Watering Place, Riders, and Obelisk_, after Marco Ricci
Dimensions:
16⅝ × 23¼ inches.
Blocks, 7 to 10:
Colors vary in different impressions.
1744.
MFA, MMA, BM, V&A, Venice
44.
_Battle near Parma_, after Francesco Simonini
Dimensions:
20 × 40 inches (two joined sheets)
Blocks, 7 or 8:
Buff, brown, light green, blue-green, light transparent red, deep red, dark gray.
1752.
The only known copy is in the British Museum. Tone has darkened and paper is torn in parts. This print is described in the _Enquiry_. Jackson erroneously referred to this artist as “Simonnetta.”
BM
45.
_Ornamental Border with Fruit; Flowers, and Purple Grapes_
Dimensions:
6¼ × 25⅞ inches.
Blocks, 4:
Red, blue, yellow, green.
Print for wallpaper.
BM
46.
_Ornamental Border with Fruit, Flowers, and Green Grapes_
Dimensions:
6⅜ × 25⅞ inches.
Blocks, 4:
Red, blue, yellow and green.
Print for wallpaper.
BM
47.
_Ornamental Frame with Flowers and Fruit_
Dimensions:
24¾ × 18½ inches.
Blocks, 4:
Red, blue, yellow, gray-green.
Print for wallpaper.
BM
48.
_Ornamental Frame with Fruit_
Dimensions:
25⅛ × 17¼ inches.
Blocks, 4:
Red, blue, yellow, gray-green.
Print for wallpaper.
BM
49.
_Ornamental Frame with Flowers and Girl’s Head_
Dimensions:
26 × 18½ inches.
Blocks, 4:
Red, blue, yellow, green.
Print for wallpaper. Central figure is described under No. 59.
BM
50.
_Dancing Nymph with Bow and Arrows_
Dimensions:
11⅛ × 6⅜ inches.
Blocks, 2:
Olive green, black.
Print for wallpaper. Probably cut by Jackson as a guide for his workshop. See Nos. 59-74.
Smithsonian Institution (U.S. National Museum)
51.
_Bust of Democritus_
Dimensions:
9¼ × 7½ inches (sheet size).
Blocks, 4:
Buff, light gray, medium gray, dark gray.
Plate from Jackson, _An Essay on the Invention of Engraving and Printing in Chiaro Oscuro_, 1754.
52.
_The Lion_
Dimensions:
9¼ × 7½ inches.
Blocks, 6:
Yellow, red, light green, blue-gray, light gray, dark gray-green.
Plate from Jackson, _Essay_..., 1754. This subject was copied from plate 34 of Giorgio Fossati, _Raccolta di varie favole_, Venice, 1744.
53.
_Building and Vegetable_
Dimensions:
9¼ × 7½ inches.
Blocks, 6:
Yellow, light green, light red, crimson, light gray, dark gray.
Plate from Jackson, _Essay_..., 1754.
54.
_Statue of Apollo_
Dimensions:
9¼ × 7½ inches.
Blocks, 4:
Light buff, medium buff, gray, and dark gray.
Plate from Jackson, _Essay_..., 1754.
55.
_The Farnese Hercules_
Dimensions:
9¼ × 7½ inches.
Blocks, 4:
Buff, greenish buff, gray, dark greenish gray.
Plate from Jackson, _Essay_..., 1754.
56.
_Antique Bust of a Man_
Dimensions:
9¼ × 7½ inches.
Blocks, 4:
Buff, gray-brown, gray, dark greenish gray.
Plate from Jackson, _Essay_..., 1754.
57.
_Pheasant and Garden Urn_
Dimensions:
9¼ × 7½ inches.
Blocks, 7:
Yellow, light green, warm gray, blue-gray, light red, crimson, dark gray-green.
Plate from Jackson, _Essay_..., 1754.
58.
_Ruin of Garden Temple_
Dimensions:
9¼ × 7½ inches.
Blocks, 7:
Yellow, light green, warm gray, cold gray, light red, crimson, dark gray-green.
Plate from Jackson, _Essay_..., 1754.
_Jackson’s Workshop_
59.
_Woman Standing Holding Apron_, after S. Le Clerc
Dimensions:
11¼ × 6½ inches (sheet size).
Blocks, 2:
Deep red and pale green.
Print for wallpaper. This figure appears in the center of the ornamental frame, No. 49 in this catalog, in the British Museum impression. After a plate in the series of etchings by Sébastien Le Clerc, _Les Figures à la mode_, 1685. The figure is reversed.
BM
60.
_Female Statue with Fruit and Wheat_
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and yellow.
Print for wallpaper.
Philadelphia
61.
_Female Statue with Mask_
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and yellow.
Print for wallpaper.
Philadelphia
62.
_Queen with Armor and Model of Building_
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and pale green.
Print for wallpaper. In the style of Villamena.
Philadelphia
63.
_Apollo with Lyre_
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Green and black. Also deep red and yellow.
Print for wallpaper.
Smithsonian Institution (U.S. National Museum) Philadelphia
64.
_Woman with Shepherd’s Pipe_
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and yellow.
Print for wallpaper.
Philadelphia
65.
_Woman with Sheet of Music and Horn_
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and pale green. Also red and yellow.
Print for wallpaper.
Philadelphia
66.
_Woman with Pitcher and Apron_, after S. Le Clerc
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and pale green.
Print for wallpaper. After a plate in the series of 24 etchings by Sébastien Le Clerc, _Les Figures à la mode_, 1685. The figure is reversed.
Philadelphia
67.
_Old Woman Standing_, after S. Le Clerc
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and pale green.
Print for wallpaper. After a plate in the series of 24 etchings by Sébastien Le Clerc, _Les Figures à la mode_, 1685. The figure is reversed.
Philadelphia
68.
_Lady with Staff_
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and yellow.
Print for wallpaper.
Philadelphia
69.
_Woman with Fruit and Basket_
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and pale green. Also red and yellow.
Print for wallpaper. In the style of Villamena.
BM
70.
_Woman with Branches and Incense Burner_
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and pale green. Also red and yellow.
Print for wallpaper. In the style of Villamena.
BM
71.
_Woman with Flowers and Vines_
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Red and green. Also red and yellow.
Print for wallpaper. In the style of Villamena.
BM
72.
_Standing Woman, Head Turned to Right_, after Watteau
Dimensions:
11 × 5 inches.
Blocks, 2:
Green and black.
Print for wallpaper. After Boucher’s etching after a drawing by Watteau (plate 216 in Jean de Julienne’s compilation of Watteau’s work, _Figures de différents caractères_, ca. 1740).
MMA, Philadelphia, BM
73.
_Lady with Fan_, after S. Le Clerc
Dimensions:
11 × 4½ inches.
Blocks, 2:
Green and black.
Print for wallpaper. After a plate in the series of 24 etchings by Sébastien Le Clerc, _Les Figures à la mode_, 1685. The figure is reversed and the fan has been shifted to the upper hand.
MMA
74.
_Classical Female Statue_
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and yellow.
Print for wallpaper.
Philadelphia, MMA
75.
_Boy Looking Down_
Dimensions:
3 × 2 inches.
Blocks, 2:
Light brown and black.
Perhaps after Piazzetta.
MFA, BM
76.
_Lady with a Flower_
Dimensions:
14⅜ × 11¼ inches.
Blocks, 3:
Buff, light brown, brown.
Possibly after Kneller. Very weak and crude.
BM, V&A
_Unverified Subjects_
77.
_The Annunciation_, after Parmigianino
Dimensions:
6¾ × 4⅝ inches.
Blocks, 3:
Tones of brown.
This is listed as Jackson’s in Gutekunst & Klipstein’s catalogue 40, 1938. It is described as having “the initials and an engraved letter border,” but whether the initials are Jackson’s or Parmigianino’s is uncertain.
78.
_St. Peter and St. Paul Surprised by the Executioner_, after Titian [Le Bl. 17, N. 16]
Le Blanc and Nagler list this print in addition to _St. Peter Martyr_, but most likely it is the same subject. The title might have been taken from a museum catalogue which listed the identical print under a different title.
79.
_The Entombment_, after Titian [Le Bl. 11]
This is included in Le Blanc (_J. C. mis au tombeau_) but it seems likely that it was confused with Bassano’s identically titled subject.
80.
_Giovanni Gastro I De Medici_
This is listed as a Jackson print in Berlin-Dahlem but has not been located.
81.
_Elisabeth, Duchess of Hamilton, as a Shepherdess_
This is catalogued as a Jackson print in the Dresden Kunstsammlungen but was lost in the war.
The _Chiaroscuros_ and _Color Woodcuts_ of John Baptist Jackson
[Transcriber’s Note: The left and right halves of Plate 24 appear to be mislabeled in the original. See the html file for combined version.]